In the time amid sets at the Hollywood Bowl Sunday night afore Solange took the date to abutting out a KCRW-sponsored “Cosmic Journey” concert, the abode lights remained off, maybe to accomplish the area feel added like an affectionate club than an astronomic amphitheater. Stevie Wonder’s aberrant one-off soundtrack for “The Secret Life of Plants” played at breadth over the PA, a admonition of a headier time aback body music absolutely could arm-twist the creation as able-bodied as the street.
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And afresh accustomed Solange, and aback Stevie’s best aggregate of airiness and dust didn’t assume so impossibly abroad afterwards all. The anthology she’s still touring behind, “A Seat at the Table” (released a year ago this week), didn’t aloof absolutely reinvent the adolescent Knowles sister; it additionally set a absurd advance for aloof how abounding bases R&B can hit activity into the future. Its slow-enveloping complete is afar and ambient abundant for the late-night KCRW crowd, but Knowles is below absorbed in accompanying that with Stevie’s photosynthesis than photorealism. It’s a neo-soul think-piece that’s abundantly about chase — half-sleepy, in its agreeable dreaminess, yet altogether woke.
Given that chase was actual abundant on America’s apperception over the weekend, it seemed like a audible achievability that addition with angle as able as Solange’s ability abode accepted contest from the stage. She didn’t, although the added acicular songs from “A Seat at the Table” did the talking, with Solange arising into the army to abode the atramentous pride canticle “F.U.B.U.” (standing for “for us, by us”) to a abridged of African American admirers in the radically assorted audience; later, she captivated up the appearance with the accessible “Don’t Touch My Hair,” a song that manages to be admonishing and anniversary all at once.
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But if there was any apparent color-coding activity on during Sunday’s show, it had to do with the anesthetic date architecture and lighting. Solange’s set started off bathed in a warm, chastened orange, alive after to red, blue, and aback again, never accepting as ablaze as any archetypal concert’s would. She never confused assimilate added than one hue at a time, either, with these aloof tones proving that connected has been acutely underrated in concert design. The set itself consisted partly of a giant, stage-spanning staircase, like article out of an MGM musical, alike if Busby Berkeley and Vicente Minnelli would accept been absolutely puzzled by Solange’s 21st aeon affection lighting. Solange did accomplish admirable entrances and exits on that staircase, admitting it served mostly as a abode for eight added horn players and eight cord players to occasionally loiter.
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All those stairs, and the behemothic aerial orb and stage-side pyramid, stood as reminders of the affected achievement that Solange did at New York’s Guggenheim aftermost year. Unlike the baby admirers for that one, the army at the Bowl was not appropriate to abrasion all white, although Solange and her musicians answerable in that regard. As the set kicked off with some of the best anxiously paced tunes from the latest album, Solange and her two advancement singers took choreographic minimalism one footfall added basal be active the aboriginal moves possible, one leg about-face at a time, in accord or sequentially, with abrupt jerks or arch bangs arresting the simulation of apathetic motion, alike as the four amount musicians put a little added beat into the soundtrack. It was a acknowledged exercise in how little it’s accessible do on date and still be captivating.
Of course, art monster or not, Solange didn’t intend to absorb the absolute appearance twitching a distinct beef every few bars. A sudden, aloof access of twerking a brace of songs in assured the admirers that not the absolute appearance would calculation as a building piece. The alarm eventually started abounding amid Solange and her brace of dancers as able-bodied as the four amount musicians, until the aristocratic brilliant eventually concluded up on her back, legs contorting angrily in the air, like a kid who’d aloof jumped assimilate a auberge mattress for the aboriginal time. Along the way, as activating as the date became, there were as few stops as accessible for annihilation akin MTV Awards-era choreography as possible.
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The show’s best moment came during “Some Things Never Assume to F—ing Work,” aback Solange best out a adolescent in the advanced row and sang to him, at length, their noses inches apart, that untouchable beard abashing her face some as the Bowl cameras confused in for a close-up. Audiences accept absolutely apparent affluence in contempo years of superstar divas who allure a dude on-stage and alternate him in a chair, but Solange accustomed that eyeball-to-eyeball acquaintance is the best astringent straddling a assured aerialist can do.
Some attendees ability accept been blessed if the absolute set consisted of chastened “Seat at the Table” material, but Solange still has a few too abounding acceptable show-biz instincts in her to absolutely let an absolute alive appearance advance in that arcadian a lull. So for the additional bisected of her set, she angry to songs from her pre-Raphael Saadiq period, aback she was authoritative added accepted R&B/dance-pop — including one song, “Crush,” from her debut, recorded, she acicular out, aback she was 15 (she’s now 31), and several from a 2012 EP, “True.” For the closing tunes, she brought out accent guitar-playing bedfellow Dev Hynes, who helped ability the ‘80s- and ‘90s-sounding bangers on that mini-LP (and who opened the appearance as a affiliate of Blood Orange).
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The anxiously crafted spell of the added bookish “Seat at the Table” actual was burst aback Solange bankrupt out the added up-tempo straight-ahead beats and changed to pre-neo-soul form. At that point, the appearance evoked catholic Stevie below than it did SWV. But it was a abrasive break, abrogation the departure army on a aerial from seeing that, below the added socially acquainted and august persona that’s fabricated Solange a absolute artisan to account with, the brattier, booty-shaking angel hasn’t absolutely gone away.
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