Barbican Hall, London
“I hope you’ll imagine something within your own lives that might not exist yet.”
Clambering through a sack filled with an endless array of flutes, Hutchings leads us to another inspired universe, spearheaded by his innate ability to imagine things into existence.
There’s been many-a-musician who’s decided to amend instrumental choices midway through their career: Dave Grohl from drums to guitar; Flea from trumpet to bass guitar; Stevie Wonder from drums to instrumental-virtuoso. After a grandiose career yielding the almighty power of the saxophone, Shabaka Hutchings has taken the reins of a new challenge under the guise of the humble flute (and clarinet).
Atoning the brazenness of his beloved saxophone, tonight deems imminently different - marked by the raspiness of Hutchings’ wooden (perhaps hand-carved/hand-picked) flutes; steeped in an extensive history from across the globe. Whilst tonight’s openers ‘As The Planets’ and ‘Insecurities’ are bolstered by a duet of harps, synthesiser and piano on-stage, it’s the main attraction’s desire for such prowess over his instrument which bleeds pertinently tonight. Equipped with expert breathing and tongue-sharpened techniques (not dissimilar to Colin Stetson), Hutchings squeezes every last drop from his musical extension, adamant on harnessing this imaginative spark into existence.
Yet such recited tracks tonight lack clear distinction, however, noticeably from the (tonight absent) harmonies of Moses Sumney and other vocal parts across his latest LP, Perceive Its Beauty, Acknowledge Its Grace. For this is best exemplified when tracks are bolstered by additional harmonious parts: Dave Okumu’s guitar licks in ‘I’ll Do Whatever’; Eska Mtungwazi’s soaring vocal lines in the transcendental ‘Living’. Hutchings’ choice of instrumentals strike pertinently within given moments: delicately frenetic harps and spurring flute patterns; syncopated synth lines which blossom throughout, conjuring a transformative performance contrasted against Hutchings’ effervescent jazz of the past.
Soon thereafter, Hutchings confesses his undertaking of such a fresh musical endeavour at this stage in his already-illustrious career, “Learning an instrument at a later stage is a real privilege - it’s a real blessing to be a beginner and having to humble myself to a new practice…I’m glad that it’s taken the course it’s taken,” he concludes. For such a musical challenge must be appreciated and respected tonight, fortifying this intrepid artist onto another destined-woodwind instrument, even if the results prove incomparable to its predecessor.
Harking back to a more primal, traditional era of instrumentation, akin to Fela Kuti’s endeavours from Nigeria within the 70’s, Shabaka Hutchings has undoubtedly furthered his career into the imaginatively (and daringly) new. Vividly excited with his notorious wide-brimmed smile across his face to the crowd applaud, the results of this ‘evolution’ prove promising for what else may come from one of the nation’s most distinguished musicians of late.
7.5/10
Shabaka's latest LP, Perceive Its Beauty, Acknowledge Its Grace, is out now via Impulse! Records and can be found below.
Photo is courtesy of Mark Allan whose work can be found here.