Leon Bridges review, Jazz Cafe, London: Buoyant with brass and syncopated shimmy
Bridges sounded as sharp as he looked at this intimate show
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.At London’s Jazz Cafe last night, it was 1967 all over again. Dressed in an open-necked zebra print shirt and wide flared trousers, Leon Bridges carved out a night of old-fashioned soul.
Backed by a superb four-piece band, Bridges sounds as sharp as he looks. Buoyant with brass and syncopated shimmy, "Smooth Sailin’" makes for toe-tapping a plenty. "Brown Skin Girl" showcases the singer’s startling raspy croon. And as for the soft-snared "Mississippi Kisses", it evades any suggestion that the singer was incubated in some major-label laboratory.
In terms of new songs, Bridges plays six. As anticipated, the crowd respond less well than they do to the Coming Home album. But the songs are more upbeat, leading the artist to hop, sway his arms at his side, and ask, “Can you dig it baby?” Covers include nineties hit Guiwine’s "Pony", which, though unexpected, proved that Bridges can pull off almost anything.
It is a satisfying set, and despite at times verging on the edge of tribute act (particularly "Twistin"), Bridges’ Sam Cooke-style vocals and laid-back groove allow him to get away with it. Take me back to 1967.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments